Jakob Dylan evolves his sound on his second solo effort, Women + Country.

[dl] Music/TelevisionAS THE STEEL GUITAR swells with a simple, plodding rhythm on Nothing but the Whole Wide World, you know youre hearing a different side of Jakob Dylan. in this, the opening track of Dylans new sophomore solo album, Women + Country (Columbia records, $12), the Wallflowers singer and son of Bob inches closer to the rootsy mix of country, folk, blues and Bayou jazz thats also been embraced by his iconic dad in recent years.

But if the younger Dylan, 40, has proved anything in his nearly two decades in the music biz, its that hes not content just trying to sound like Pops. The Wallflowers five releases, peaking with 1996s Bringing Down the Horse, showed him as a singer-songwriter whose clever, muscular pop tunes (notably One Headlight) fit nicely into modern radios playlists.

And considering the stark, straightforward folk on his 2008 debut solo record, Seeing Things (produced by Rick Rubin), the rich Americana of Women + Country seems like a natural progression.

When I was growing up, I was obviously first interested in rock n roll bands, and I suppose I discovered over the years that most rock n roll had a heritage and history, so I dug deeper to the roots of that, he says. I always equate making music with being an architect. Being the most creative makes more sense if you appreciate the craft of it all.

The singer found some inspired collaborators to help him create Women + Country. He reunited with his Bringing Down the Horse producer T-Bone Burnett, who has garnered acclaim for his work on the O Brother, Where Art Thou? and Crazy Heart soundtracks as well as the Grammy-winning Robert Plant and Alison Krauss record, Raising Sand. And the slightly twangy backup singers on eight of the albums 11 tracks are Neko Case (of New Pornographers) and Kelly Hogan. Their harmonies transform the choruses of more countrified songs such as Holy Rollers for Love from pretty to downright gorgeous. Theres no doubt that Dylan wondered during recording where people like Neko Case had been all his life.

She can do anything, he says. Shes got experience in not always being the lead singer, so she knows how to back somebody else up. And her approach to songwriting has a lot more restraint and finesse than I might have.

The guy doesnt give his writing chops enough credit. In Women + Country, he channels the spirit of a war-plagued, cash-strapped America (Everybodys Hurting). He also manages social consciousness without getting preachy in the brassy, New Orleansflavored Lend a Hand.

But the true highlight of the new record is Dylans physical voice. While a lot of Wallflowers vocals were more about finding the right tone than achieving perfect pitch, the husband and father of four now sings with greater maturity and precision.

I wanted the sound of this record to be big and beautiful, unlike the last one, where it was all about exercising discretion, he says. So the vocals here came naturally when I found the right register.

While Dylan hasnt had a problem finding his voice or setting his own course in the music world, he still knows theres a wealth of family knowledge and experience at his disposal, and he doesnt take it for granted. He sees his father live in concert whenever he gets the chance.

I got to see Bob Dylan live at the Palladium a few months ago in Los Angeles; it was probably my 750th show, he says with a laugh. I had backstage passes and everything. Yeah, I got the full VIP treatment.